impossible either to construct or to finish a harp of any form with more taste and elegance." The lyre, which is, perhaps, even more than the harp the immediate ancestor of the pianoforte, was much used in Egypt and Assyria for religious festivities. The illustrations will convey some idea of the shape of the ancient lyres, and the manner in which they were played. The drawings of the first two Assyrian lyres are from sculptures in the British Museum, which were found at Konyunjik; the third is taken from Botta's "Ninève." It will be noticed that the lyre was of many different shapes, and that the strings being partly carried, as in the pianoforte, over the sounding-board, they were not free to be struck upon both sides throughout their entire length by the plectra or by the fingers of the performer. This is the distinction between the harp and the lyre, for the harp can be played the whole length of the strings upon both sides, as the sounding-board is differently placed. Both instruments were played with the fingers, and the lyre with the plectrum also, which was generally a small piece of ivory or 1 and 2. Sculptures from Konyunjik (British Museum). 3. From Botta's "Nineve." bone, as in illustration 1, which the player pressed against the strings, snapping them as though they were pulled by the finger. Assyrian bas-relief (British Museum). a very favourite instrument with the Greek, and was probably imported by them from Egypt through Asia Minor. The plectra were sometimes, however, short sticks, similar Perhaps the dulcimer, even more than the harp and lyre, to that used by the player on the dulcimer in the frontis- was the immediate ancestor of the pianoforte. It was piece, and in the representation of the Assyrian dulcimer. played with the plectrum for striking, both by the Egyptians These were held one in each hand, and were used for and Assyrians, and, later, by the Hebrews and Persians. striking the strings of the instrument played upon, to set | The strings in this instrument passed completely over the sounding-board, and were of varying lengths. The Assyrian dulcimer is shown in a bas-relief in the British Museum, representing the procession greeting the conquerors after the victory of Sardanapalus over the Susians. The first figure is playing the Assyrian harp; the second, the double pipe or flute; the third is the performer upon the dulcimer, in whose right hand the plectrum is held firmly, and seems about to strike the strings. From the manner in which the strings run in this dulcimer, it is evident that they must have passed over a bridge before they took a vertical direction, but this has been very imperfectly represented. The dulcimer was generally fastened round the waist or shoulder of the performer by a strap, for convenience in playing whilst marching. As the strings run out in a straight line from the player, in the same way that they do in a grand piano, instead of across as in our dulcimer, the player must have struck the string sideways with the plectrum, probably twanging an accompaniment upon the strings with the left hand. The dulcimer has been a favourite instrument for ages, and is used even now in the East, especially by the Arabs and Persians, under the name of the Kanoon, in which the lamb's-gut strings are twanged with two small plectra, one attached to the forefinger of each hand. On the Continent, too, we often meet with the dulcimer at rural fêtes, under the name of the Hackbret (.e., chopping-board), which it resembles in shape. It is a square box about four feet long and eighteen inches broad, containing the soundingboard and about three octaves of strings, two or three to each note, tuned in unison. The player holds a short stick in each hand with round knobs at the end, one side of which is covered with soft leather or felt, for use in piano passages. The sound is pleasing when played piano, but as there are no dampers like those used in the pianoforte, the fort pas sages are very confused, and the hand can only be used occasionally instead of them. Besides the instruments mentioned, the Egyptians and Assyrians had an instrument bearing a close resemblance to the tamboura in common use upon the shores of the Euphrates and Tigris, which has wire strings passing over the sounding board of a lute-shaped instrument, and is usually played with a plectrum of tortoise-shell, or an eagle or vulture quill. The neck and finger-board are remarkably long and straight, being formed of a single straight bar. Some elegant specimens of this instrument were sent to the International Exhibition of 1862 from Turkey. This will probably explain the Assyrian instrument accurately, although the only two specimens discovered are much defaced, so as to render the description and comparison difficult and uncertain. There is also a representation of an Egyptian musical instrument resembling the tamboura on the Guglia Rotta in Rome, which has the neck, keyboard, and body well marked. This instrument alone would prove that the Egyptians and Assyrians had made considerable advance in music at a very early age, for it shows that they knew how to produce a greater number of notes upon a few strings, by means of the finger-board, than could be obtained even from their harps. There are also two or three drawings of this instrument in the British Museum, in which the finger-board is clearly shown, especially one on a beautifully modelled and wellpreserved vase in terra-cotta, which Dr. Birch describes as probably the oldest of all Egyptian pottery." Besides these stringed instruments, the ancients had a three-sided harp, or, rather, a harp of two sides with the last string forming a third, which was called the trigonon, and several other shapes of the harp and lyre, which are represented in the illustrations. The principal wind instruments were the single and double flute or pipe, and the straight, curved, and double trumpet. The instruments of percussion were the drum and tambourine, or tabret, of several shapes, with and without bells, the cymbals, bells, a kind of crotalum, and the systrum, a metal instrument about eight inches long, with thick metal wires passing through it, which produced a sharp ringing sound when shaken in the hand of the performer. Of the successive modifications in shape of the stringed instruments it is unnecessary for us to speak, as these alterations were comparatively slight, and have little bearing upon the History of the Pianoforte. PRESERVATION OF ANCIENT REMAINS. REFERRING to a suggestion made by a correspondent of the Dorset County Chronicle, that clauses against the destruction of stone monuments and similar ancient archæological landmarks should be inserted in leases, Dr. Chr. Cooke writes to that journal to say that the plan has been adopted by Mr. Forbes, the Laird of Culloden, in Invernesshire; and, doubtless, if generally adopted by landlords, many old monuments, even now, might be preserved, which, in the absence of such restriction, will cease to be visible before the end of this century. There seems to be some desire on the part of the Government to assist in such preservation, but not to advance money for the purpose. In Anglesea recently some remains were pointed out to the writer as being those of a cromlech which a prior tenant had destroyed in a "drunken spree." A fine cromlech at Mathey, in Pembrokeshire, and another near Marlborough, have been destroyed by the tenants since the Ordnance surveys were taken a few years ago. Other instances of Vandalism might be recorded, including the destruction of the ConFrom the Gentleman's Magazine of May, 1844, it appears stantine dolmên, in the West of Cornwall-a national loss. that the late Sir Charles Lemon offered to purchase this relic, but the then owner demanded 500l. for it. Landlords themselves, however, sometimes cause these monuments to sirable," says Mr. Cooke," that ancient buildings, monube destroyed for building purposes, &c. "It is most dements, and their sites should be included in all the Ordnance maps, and archæological societies would confer a benefit upon posterity-as Dr. W. Boilaise, Dr. Stukeley, and other antiquarians, have upon the posterity-by causing accurate drawings and photographs to be taken of notable buildings, cromlechs, kistvaens, pillars, encampments, &c., in Great Britain and Ireland."-Building News. associations with personages of past times is disappearing AN HISTORICAL COTTAGE.-A cottage interesting from from the banks of the Thames at Richmond. Built in the 17th century by a relative of King Charles II., it became the property of the accomplished Lady Diana Beauclerk, who decorated its walls with her pencil. Later on the Misses Berry (who are buried in the adjoining churchyard) made it their favourite summer retreat, and Horace Walpole found one of his greatest pleasures in ferrying over from Strawberry Hill and visiting them amid its bowers of roses. After being in the possession of Elizabeth, Duchess of Devonshire, the friend of Gonsalvi, it passed into the hands of the Hon. George Lamb, Lord Melbourne's brother, and was a constant meeting-place of his with Lord Holland and other members of the Whig party. Sir Charles Barry became a frequent guest there, and seeing the walls were beginning to show signs of decrepitude, gave its present owner, Sir Augustus Clifford, a beautiful Italian design for its reconstruction, which he is now carrying out for his son, Colonel Spencer Clifford. In the progress of some recent excavations at the Taunton Union Workhouse, an old tobacco pipe was dug up, on which was inscribed "John Hunt, 1561." It is in an excellent state of preservation, and is stated to be the oldest specimen of a pipe known to be in existence.-[There must be some error in deciphering the date.-ED. A.] DANISH GALLERIES FOR MANUACTURES AND WORKS OF ART. Under the immediate Patronage of H.R.H. the Princess of Wales. THE 142, NEW BOND STREET. TERRA-COTTA WARE. proportion in all the forms taken together that the latter can be said to have the advantage. But perhaps the best test of the quality of the Danish terra-cotta work is to be found in the large collection of medallion reliefs. Of the designs it is unnecessary to speak, but one thing may be mentioned to show the quality of the material, and that is their sharpness and finish. There can be no finer proof of the extreme fineness of the Danish clay than the fact that it is possible to employ it for medallions of most elaborate design, and yet no bigger than a crownpiece. Many impressions of these medals contain groups of six or seven figures, which are to be found in the gallery, and have all the sharpness of plaster or metal casts. One design may be taken as a guarantee of the excellence of the rest-the famous "Triumphal Car," with four horses and two figures, which Bissen modelled for the roof of the Thorvaldsen Museum. Of embossed terra-cotta ware numerous specimens, in all the various styles, will be found in the galleries. The best known is that yellow decoration on a black ground which was so much in favour among the ancients. It is from these specimens that perhaps the best idea may be formed of the skill of the Danish artists. In this class every article has been decorated by hand. The drawings on the vases are taken from the studio to the baking-kiln. Thorvaldsen's works have furnished nearly all the designs, though a few subjects from Flaxman have been introduced. In form the vases are exact reproductions of the pure Etruscan models. CHINA, PORCELAIN, AND BISQUIT. Ever since the establishment of the Royal Porcelain and China Factory at Copenhagen, about a century ago, Denmark has enjoyed a great reputation for its ceramic productions. The natural taste of the Danish artists for flower-painting is, no doubt, a principal cause of their success in china and porcelain. They claim, so far as the ornamentation of china is concerned, to surpass the French themselves in delicacy of colour, and they refer with pride to the fact that when the Emperor Napoleon, some few years since, sent a magnificent Sèvres vase, valued at 30,000 francs, to the late King of Denmark, the artists of the royal factory, who were the first to beg permission to look at it, felt assured of their own ability to make a better vase. HE production of good terra-cotta ware depends on many natural and artificial advantages. A good design is all but spoiled if worked in bad clay, and some clays never bake well, either in texture or colour. Some of the French works in the last International Exhibition were unexceptionable in all but the quality of the clay, and that was so bad in many cases that it required an artificial colouring to make it at all presentable. The show of Denmark, on the contrary, proved that that country possessed peculiar advantages for the manufacture of the best terra-cotta ware. It was chiefly confined to the productions of the factory in Copenhagen, the only one of its kind in Denmark, having regard to the highest kind of terra-cotta work. It has exclusive rights over an estate producing a plentiful supply of the best silicious clay, light-coloured, and so fine in texture, that the surface of the finished work is soft to the touch, like silk; and it may readily be imagined, that the countrymen of Thorvaldsen have not far to seek for designs. The Thorvaldsen's Museum in Copenhagen has been laid under contribution by the factory to such an extent, that it would be difficult to name any well-known group by this sculptor which it has not reproduced in terra-cotta. Its work may thus be called thoroughly national, and it has shown the greatest ingenuity in adapting the designs of the great sculptor to almost every kind of terra-cotta work. Looked at from this point of view alone, the manufacture it has established would deserve to be called unique, but it has an additional claim to distinction in the fact, that it has shown the adaptability of the material of terra-cotta to innumerable purposes to which no one ever before thought of applying it. Besides copies of all kinds from the most noted figures and groups of sculpture, vases in all sizes and of all the Etruscan and ancient Danish shapes, medallions, and elegant tazzas, they make innumerable little pieces of fancy furniture for the toilette-table, and a host of knick-knacks. It is twenty-five years since this manufactory was established, and among the advantages it has already conferred is the ready employment it offers to advanced students of the great art schools. The taste and enterprise of its founders have been the means of extending the reputation of a great branch of Danish art manufacture throughout Europe, a work in the continuance of which Messrs. Borgen hope to be in some measure instrumental, having entered into an exclusive contract with the factory for this country. Among the chief figures in terra-cotta now on view at their galleries are Thorvaldsen's "Christ," and the same artist's bas reliefs of "Cupid Triumphant," "Cupid Playing on the Lyre," and "Cupid with the Dog," the famous "Tiger Hunter," by Professor Jerichau, and Thorvaldsen's "Psyche." A few of Bissen's works may be included. Bissen was one of Thorvaldsen's best and favourite pupils, and he executed many commissions from the State. finest of his works, and certainly the most striking both in subject and in treatment, is the large figure of a Valkyrie, of which an admirable copy in terra-cotta is on exhibition. Another kind of terra-cotta ornament suited to all the purposes to which the statuettes can be applied is to be found in the copies in miniature of all the best shapes of Etruscan vases, and vases of ancient Danish make, from the old Norse museum at Copenhagen. The latter have been introduced into this country by Messrs. Borgen; and it will be found interesting to compare these examples of early Northern art with the classic models. There is a severe purity and simplicity in the Danish forms which is not surpassed in the Greek; and it is only in a certain exquisite contemporary artists. The The factory relies chiefly for distinction on its blue china The blue china is, both in design and its Dresden ware. and manufacture, a purely Danish production. The pattern consists of a pale blue relief of ornament on the usual light ground, and in moulding of a fluted form which cannot be produced in any other factory. From the moment of its introduction into this country it found great favour. Another kind of Danish china is known as the Egyptian ware, the ornamention consisting of red and black hieroglyphs, on a light chocolate ground. In this pattern the artists claim credit for accuracy and fidelity rather than originality. The designs have been carefully copied from the Egyptian remains, and much skill has been required to adapt them to the forms of the various services. The general effect is a certain richness and warmth of tone. forms, but chiefly in vases and in tea sets. In bisquit the display is very extensive. It is, indeed, a Thorvaldsen gallery in porcelain. It is made in all PICTURES AND STATUARY, It is the wish of Messrs. Borgen to make themselves a medium of communication between the sculptors and painters of their own country and buyers in this country. For this purpose they will from time to time exhibit the best pictures and statues obtainable from Copenhagen. Their collection will be almost entirely made up of cabinet pictures by Carl Bloch, Richard, Constantin Hansen, Hetch, Exner, Marstrand, Schougaard, Kjerschou, Kjellerup, Rohde, Raadsig, Lund, &c. In sculpture Messrs. Borgen exhibit the best works of NOTES ON PUBLIC SALES. JEWELS. SOME beautiful jewels, the property of a lady, deceased, were sold on the 19th of April last, by Messrs. Christie, Manson, and Woods, at their rooms, by order of the executors. The following were the more important : Lot 44-7.-A half-hoop ring, with three brilliants and two emeralds, and three gold band rings, with brilliants, rubies, and sapphires-105 guineas (Mr. Streeter). 51-3-A pair of handsome earrings, formed of cut amethysts, and set with diamonds; an oval gold locket, set with an emerald and two brilliants; and a fine pendant, formed of a polished amethyst, inlaid with a crescent of brilliants-104 guineas (March). 74.-A very fine single stone brilliant ring, in chased gold setting; weight, 4 carats less-250 guineas (Waugh). 141.-A circular gold bonbonnière, enamelled light blue, the lid set with numerous diamonds, a miniature of George, Prince of Wales, by Cosway, on the lid-42 guineas (Mr. Addington). PICTURES AND DRAWINGS. The important collection of modern pictures and watercolour drawings of Messrs. E. Gambart & Co., comprising nearly 300 examples of the modern English and Continental schools, was submitted to public competition (in consequence of the retirement of Mr. E. Gambart), by Messrs. Christie, Manson, & Woods, on the 1st ultimo. Among the more valuable works included were:-- Lot 133.-Thomas Faed, R.A., "A Sprig of Shillelah," a splendid example-405 guineas (Permain). 134. Philip H. Calderon, R.A. (received the gold medal of the first class at the Paris Exhibition, 1867.-" The Attempted Escape of Mary, Queen of Scots, from Lochleven Castle."-180 guineas (Agnew). 136. C. R. Leslie, R.A.-" Christ and his Disciples at Capernaum."-195 guineas (Permain). 137.-Birket Foster.-"A Surrey Lane," exhibited at the Royal Academy in 1869-250 guineas (Cubitt). 138. John Faed, R.S.A.-" John Anderson," the picture exhibited at the Royal Academy in 1869; scene taken from Burns-435 guineas (Rutley). 139. W. Etty, R.A.-" The Golden Age," the splendid work exhibited at the Royal Academy in 1835-175 guineas (Pelgerain). 284. Thomas Faed, R.A.-" When the Day is Done," a grand domestic scene, 60in. by 46in. Exhibited at the Royal Academy in 1870. This was the great gem of the collection-1300 guineas (White). The whole realised the large amount of 18,250%. OLD ENGLISH PORCELAIN AND POTTERY. A collection of old English pottery and porcelain, the property of a well-known collector, was on Thursday, the 20th of April, brought under the hammer of Messrs. Sotheby, Wilkinson, & Hodge, at their rooms. It comprised examples of old Bow, old Chelsea, Derby, Pinxton, Plymouth, Rockingham, Swansea, and Nantgawr, old Worcester, &c. Among the pottery was a mug of Places' ware, of which only two others are known; a matchless old Wedgwood vase, &c., also a few objects of Continental origin, among which was a beautiful reptile dish, the work of Bernard Palissy, of which only two others have been recorded. The whole excited much interest. Subjoined are the principal examples : Bow.-Lot 17. A beautiful statuette of John Wilkes, standing on a scroll pedestal, with a child holding the North Briton, and the cap of liberty; the pose of the figure and fold of the drapery are perfect, and in all probability the work of John Bacon-16/. (Read). Bristol.-35. A tea-pot, of extraordinary interest and beauty, with a yellow-diapered border and gold scroll work, painted on both sides with an altar, on which stands a Cupid holding a torch, and supported by figures of Minerva holding the cap of liberty, and Plenty with the cornucopia. On the front of the altar is a shield, bearing the arms of Burke, empaled with Nugent; and on the plinth an inscription abbreviated : I. BURKE. OPT. B. M. III. NON. NOV. MDCCLXXIV. The decoration of this unique piece is attributed to Henry Bone, R.A., the celebrated enameller, who was at that period an apprentice at the Bristol porcelain manufactory -190 guineas (Wareham). In 1774, Edmund Burke was elected M.P. for the City of Bristol, when considerable enthusiasm was displayed. Marryat mentions that Burke, as a delicate acknowledgment of services rendered by Mr. Smith, ordered from Champion a tea service, which he presented to Mrs. Smith; but no mention has been made of this beautiful service, which has lately been brought from 179-80. Louis Gallait (Member of the Institute of France). "The Prison Door."-126 guineas (Everard), and "The Mother and Child," a beautiful work-278 guineas (Vokins). 188-90. Frederick Goodall, RA.-"Girl Feeding Rab-abroad. bits," "Farm Scene," and "Homely Meal, Brittany "-210 guineas (Virtue). 192. Holman Hunt.-"The Finding of the Saviour in the Temple," 55in. by 34in. The drawing by Morelli, executed under the direction and with the assistance of Holman Hunt, as a translation of the picture, in black and white, for the engraver to work from. The drawing is of the same size as the original picture-120 guineas (Cox). 232. "Gentle Spring;" the scene taken from Algernon C. Swinburne's poem-335 guineas (M'Lean). 254. Wm. Holman Hunt.-" Bianca,' a beautiful work; scene taken from " Taming of the Shrew "-305 guineas (Pilgeram). 277. Birket Foster.-"Dunstanburgh Castle, Northumberland"-275 guineas (Tooth). 278. L. Alma Tadema.-"How the Egyptians enjoyed themselves 3000 years ago "-200 guineas (Everard). 281. Philip N. Calderon, R.A.-The young Lord Hamlet. Exhibited at the Royal Academy in 1868-360 guineas (Agnew). 36. A milk jug and cover of the same service and same design, the cover surmounted by a wreath of flowers in biscuit, unique-115 guineas (Wareham). 37. A chocolate cup and saucer of the same-90 guineas (Menke). 38. A tea-cup and saucer of the same; the decoration of the cup is varied-40 guineas (Wareham). 38.** A beautiful large tea-cup and saucer, forming part of the same splendid service, and a sugar basin cover; the former fetched 70 guineas (Wareham), the latter 60 guineas (Walker). 39. An oval plaque in biscuit, with the arms of Burke and Nugent in relief, surrounded with a wreath of flowers of the most exquisite workmanship, in the original black wood frame; unique-99 guineas (Fry). 40. A similar plaque, with the initials J. B. (Jane Burke, wife of Edmund Burke) within sun-rays, in gold, in original black wood frame unique-55 guineas (Wareham). 42. A pair of matchless vases, light blue scale ground, each painted with birds and insects, in eighteen compartments, with exquisite gold borders, mounted in ormolu 283. Madlle. Rosa Bonheur (received the Cross of the Légion d'Honneur in 1865).—A grand and magnificent scene-230 guineas (James). in the Pyrenees--910 guineas (Cox). Palissy.-115. A circular dish, on foot, with a snake coiled in the centre, and covered with plants on a white ground, indented with tertiary shells as found in the Paris basin. An exquisite work of the great master. Marryat, in his work on pottery, mentions that only two examples on a white ground are known, one at Narford-hall, and the other in the museum at Sèvres. The present example can be traced ninety years back. It was then the property of Sir Harry Burrard, of Walhampton-£50 (James). Rockingham.-125-9. A beautiful dish, with gilt stalk handle, the borders exquisitely modelled with flowers and the centre painted with a view of the Pavilion at Brighton; mark, the Rockingham crest and "Brameld, manufacturer to the King" a similar basket, imperfect; another with a view of St. Peter's, at Brighton; another, with a different view of St. Peter's-all with the same mark; and a plateau, the centre painted with a view of Goodwood, excessively fine, but imperfect. These five examples of the Rockingham manufacture were formerly the property of William IV. (See Chaffer's Marks and Monograms, article "Rockingham")-30 guineas (Menke). Old Wedgwood.-142. A magnificent oval urn-shaped vase and cover, standing on a plinth of rock-work, with the Royal supporters; most admirably modelled; on the front is a portrait of the Prince of Wales, afterwards George IV., surmounted with the feathers and motto, "Ich Dien;" on the reverse a figure of Plenty; the cover surmounted with a figure of Britannia, with trophies. This unique work was executed on the occasion of the majority of the Prince -75 guineas (Wareham). Old Worcester.-162-7. A milk jug and cover, blue ground, painted, with exotic birds in compartments; a beautiful tea-pot and stand, turquoise and gold border, painted with bouquets of flowers; two cups and saucers; a milk jug and a cake plate and basin, imperfect, all en suite -25 guineas (Wareham). MR. WOODGATE'S COLLECTION. ing of five exquisitely designed groups representing_Cupid and Psyche, Hymen, Castor and Pollux, and the Graces, two elegant vases 18in. high, and two smaller, a fine centrepiece with floral figure, supports, and perforated fruit basket, and twelve figure ornaments, together with a handsome plate-glass plateau, with or-moulu gallery mounts, 13ft. 7in. in length-150 guineas (Soames). 305. A beautiful rock crystal cup in the form of a bird, finely engraved and mounted in silver, enamelled and jewelled with precious stones, 13in. high-140 guineas (Brown). 330-1. A magnificent old Venetian point lace flounce, in fine raised design of flowers and scrolls, 4 yards long by 11in. deep; and another to correspond, 4 yards long and 12in. deep-125 guineas (Sandeman). 334. A costly brilliant bracelet, set with innumerable fine stones, the centre with a large emerald-324 guineas (Brown). 335. A gold bracelet, set with four large emeralds and three large brilliants of the first water-240 guineas (Brown). 336. A pair of heart-shaped brilliant ear-drops, with pendants-150 guineas (Dickson). 337. A brilliant cross, forming a brooch, set with 13 large stones-100 guineas (Abel). 338. A beautiful gold ring, set with a large emerald and two brilliants-81 guineas (Mr. Wm. Lumley). 338. A fine chime clock, in tortoiseshell frame, and another with eight bells-62 guineas (Eagle). 395. A pair of Chelsea vases, green ground, painted in pastoral subjects on both sides, raised fruit handles, 18in. high-50 guineas (Abel). 399. A massively carved ivory cup, Bacchanalian subject, mounted in ebony, from the Barberini Palace, and an antique silver group of three figures, representing the "Scourging of Our Saviour," marble stand, from the same palace-55 guineas (Jacobson). 399.* A pair of Henry II. candlesticks, finely enamelled in silver, and a pair of Louis XVI. candelabra, for seven lights each, finely chased and gilt, 3ft. high-62 guineas (Eagle.) OLD SEVRES PORCELAIN. The remaining collection of art objects, gallery paintings, marbles, and valuables of Mr. Woodgate, of High Holborn, was disposed of by auction on the premises on the 25th, 26th, and 27th of April, by Messrs. E. and H. Lumley, of Chancery Lane, in consequence of Mr. Woodgate's retiring A CHOICE assemblage of old Sèvres porcelain, the magfrom business. The following were the more valuable ob-nificent secrétaire formerly belonging to Marie Antoinette, 'jects disposed of: Lot 20. A fine old Dresden clock; subject, "Saturn chaining Time "-25 guineas (Abel). 44. A very handsome Sèvres casket, richly mounted in or-moulu, and a Raffaele ware vase and cover; from the Bishop of Ely's collection-52 guineas (Abrahams). 84. A splendid old Italian cabinet, beautifully inlaid with buhi and mother o' pearl, the lower part fitted with drawers and escritoire, the upper part enclosed by a pair of plateglass panelled doors, or moulu handles, and carved and gilt enrichments; from the Marquis d'Azeglio's collection 70 guineas (Brown). 144. The magnificent sideboard from the Exhibition of 1851, elaborately carved from the solid, with boldly designed front of flowers, fruit and bucolic emblems, dolphin supports, surmounted by heads of satyrs and a massive black marble slab three inches thick, finished by a lofty plate-glass back in carved frame of fruit and flowers, with vine-crowned head in centre; 11ft. by 8ft.-170 guineas (Darbyshire). 145. An equally elaborately carved sarcophagus to correspond, of elegant design, with goat's head corners and dolphin feet, the top and sides deeply carved in scrolls and floral emblems, the interior fitted for icing wine, &c.50 guineas (Darbyshire). 271. A fine old French Marqueterie escritoire, 5ft. wide, fitted with drawers and pigeon holes, sliding writing tray, and cylinder fall, and richly mounted in or-moulu-90 guineas (Brown). 288. A beautiful old Dresden china table service, consist the property of a nobleman; and other costly effects, were sold by Messrs. Christie, Manson & Woods, on the 4th instant. The sale excited the most lively interest, the large room being crowded to excess. The following were the most important objects:— Old Sèvres.-Lots 31-4. A. Verrière-a pair of small seaux, a pair of large ditto, and an oblong plateau, painted with exotic birds in a landscape-155 guineas (Rutter). 43-7. A cup and saucer, pink ceil-de-perdrix ground, painted with two medallions of children in landscapes; a large cup and saucer, gros-bleu ground, with ornaments in gold, painted with a cupid and a trophy, in two medallions; and two others by Evans and Taillandier-145 guineas (Wilson). 50-1. Two gros-bleu cups and saucers, beautifully painted with children in landscapes and trophies, in two medallions each, with richly gilt borders by Cheveux and Chabry131 guineas (Brown). 64. A large turquoise cup and saucer, painted with children in pink, in two medallions, with gilt borders85 guineas (H. G. Bohn). 92. A torquoise œil-de-perdrix cabaret, painted with landscapes in medallions, and with wreathes of foliage on white bands, consisting of plateau, milk-pot, and one cup and saucer; from Lord Rutherford's collection-200 guineas (Rutter). 94. A gros-bleu jardinière, marbled with gold, with white and gold scroll handles, flutings, and feet, the front beautifully painted with a large oval medallion of children |